The Correspondent

Gilbert’s dying. It became the whole thing. You, Bruce and Fiona, my brother, our friends, my work, the house, our life, all of that was sitting on the sidelines, but I was in the ring wrestling, bloody, half-dead, with Gill’s death. Parenting the other two, trying to help them with their own grief, was like acting. I could say what needed to be said, but I was only thinking of myself in the ring with Gill’s death. I have asked Bruce and Fiona about that period of time. I was surprised to learn they’re both in therapy. I think neither of us was able to shepherd them in those first crucial months, submerged, completely, in the swamp water of despair. We were needing the same thing, you and I, a temple in which to tuck away and disappear from the earth, to mourn at the altar of our desolation, but we had the children, so we could not. Could we have held onto each other? I’ve wondered. We did the best we could and it was not enough. The four of us came away injured, but is there any other way for a person to come through? Oh, Gilbert. I do hope there is an afterlife as I have always believed, a heaven. I hope I will see him and know him there. I believe I’ve been looking forward to death on one hand.

From the archives

·

1991

Brrm! Brrm!

·

1991

Though he was going to be a writer, the kind of writing he was going to do was traditional. While at Tokyo University he had published some short stories in a prominent magazine and on the strength of this auspicious debut he had been pleasingly identified as one who wished to restore the limpid values of Kawabata. Suzuki has not thought of it precisely that way before. The minute he heard it said, he decided it had always been true. Certainly when he looked back to the famous split between Kawabata and Riichi, Suzuki was on the side of that old delicacy and poise recalling the courtly tradition of the heian era. He found the school of the New Sensibility aesthetically offensive.

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Brrm! Brrm! cover

Brrm! Brrm!

Though he was going to be a writer, the kind of writing he was going to do was traditional. While at Tokyo University he had published some short stories in a prominent magazine and on the strength of this auspicious debut he had been pleasingly identified as one who wished to restore the limpid values of Kawabata. Suzuki has not thought of it precisely that way before. The minute he heard it said, he decided it had always been true. Certainly when he looked back to the famous split between Kawabata and Riichi, Suzuki was on the side of that old delicacy and poise recalling the courtly tradition of the heian era. He found the school of the New Sensibility aesthetically offensive.

Brrm! Brrm! cover

Read more of this excerpt...

WORDS TO LIVE BY

I reach out to the old lamp and turn the darkness on again.

1986 ·

The Bridge
Iain Banks

NON-FICTION

The Myth Of Sisyphus cover

NEW MUSIC

Jump Kutz